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<html><head><title>Building a Concert Classical Guitar - Linings</title>

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<h1>Linings</h1>

<p>The linings sit in the corners between top, back and the sides. Their primary purpose is to increase the glue surface area, and thus strengthen the joints. The influence on tone is said to be low, if not neglectable. If a soft wood is used, the mechanical coupling between top and sides is rather low. Hardwood increases the mechanical coupling factor, which should incorporate the qualities of the sides and back into tone production to a certain factor.</p>

<p>Materials</p>

<ul>
<li>Modeler's plywood (Middleton)</li>
<li>Willow (Mittleton)</li>
<li>Lime (basswood) (Mittleton)</li>
<li>Spare timber from the sides (Mittleton)</li>
<li>Pine (Mittleton)</li>
<li>Veneers (Middleton)</li>
<li>Laminated mahogany (Bogdanovich)</li>
</ul>

<p>Linings can be laminated from thin strips of soft wood or veneers to the shape of the sides. Bogdanovich and Middleton use this method with great success. If the cutoff material from the sides is used, the strips must be heat-bended before use, otherwise they would distort the shape of the body. If made from flexible veneers, a combination of differend wood colors might add a very nice visual effect.</p>

<p>Baltic birch ply is a big time saver and is very flexible, when cut across the grain.</p>

<p><i>Tentellones</i> are individual triangled blocks, which are used often by spanish makers for the top/side joints in combination with fast settling hide glue. They are usually not used for the back/side joints, because they are visible on the finished instrument.</p>

<p>Kerfed linings are also used often, and discussed next.</p>

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